I have had the pleasure in listening to the 2 CD version of “Man Of Steel” – I am up to my 3rd listening. I just need to say from the very start, that I was “spot on” in my thoughts regarding the score. I t does not have a signature theme. Those of you who believe that “Flight” was the theme – or that the “so called” trailer music was the theme, may I please ask – is it memorable?

It’s not! The so called theme you guys are talking about, does not build up to anything exciting. There is no resolution to the theme, it doesn’t go full circle – all it does is build up loudly; and.... stop. So suddenly. That is not an “honest” theme. However, it did bring up images of Henry Cavill in his Superman Suit. I am excited to see those army officials escorting him to prison.

Q: Superman doesn’t really have a new theme, like the John Williams one…

A: He has a motif. He has a bunch of notes that sort of congeal into a theme by the very end. You have to earn your theme, right? I think that’s the big difference between what John did, where it starts off with a fully formed theme, as opposed to the idea of the theme slowly finding itself.

Q: The John Williams theme was like a grand riff on the Superman TV show theme — “da-ta-daaaaaa”…

A: It’s a triumphant fanfare. It’s glorious. I tried to make it humble. I don’t really play the theme big until the very end of the movie. When he’s at his most human, that’s when he gets his Superman theme. [listen to "What Are You Going to Do When You Are Not Saving the Word?"]

Q: Superman doesn’t really have a new theme, like the John Williams one…

A: He has a motif. He has a bunch of notes that sort of congeal into a theme by the very end. You have to earn your theme, right? I think that’s the big difference between what John did, where it starts off with a fully formed theme, as opposed to the idea of the theme slowly finding itself.

Q: The John Williams theme was like a grand riff on the Superman TV show theme — “da-ta-daaaaaa”…

A: It’s a triumphant fanfare. It’s glorious. I tried to make it humble. I don’t really play the theme big until the very end of the movie. When he’s at his most human, that’s when he gets his Superman theme. [listen to "What Are You Going to Do When You Are Not Saving the Word?"]

Yeah yeah.

"He has to earn his theme... blabla... " ---You mean like Batman Begins right? Oh three films later Batman still does not have a "theme".

Since I know Zimmer is fully capable of conjuring up a hummable theme of some sorts, the blame is squarely on Hack Zack and Droning Nolan.

Q: Superman doesn’t really have a new theme, like the John Williams one…

A: He has a motif. He has a bunch of notes that sort of congeal into a theme by the very end. You have to earn your theme, right? I think that’s the big difference between what John did, where it starts off with a fully formed theme, as opposed to the idea of the theme slowly finding itself.

Q: The John Williams theme was like a grand riff on the Superman TV show theme — “da-ta-daaaaaa”…

A: It’s a triumphant fanfare. It’s glorious. I tried to make it humble. I don’t really play the theme big until the very end of the movie. When he’s at his most human, that’s when he gets his Superman theme. [listen to "What Are You Going to Do When You Are Not Saving the Word?"]

Well, Zimmer's strength has never been thematic development, that's way to symphonic for his background and his taste, sometimes he came up with good and fitting themes and thematic conceptions, but here this is just empty talking, his so called theme works best as a catchy theme in the trailer, which is not the architecture he intented but had to be edited a bit. The longer theme is not really catchy. And actually there is no development or thematic treatment of it really. There is a not missing sometimes, there is just the head of the theme, but that's a very narrowed idea of dealing with thematic material. Which again, is not his strength and never has been and probably never will be.

And that theme appearing in the second half of Flight which is associated with his kryptonian heritage supposedly, this deserves a price for the most uninspired and dull theme composed by a major film composer.... Every bar in the same rhythm, ever countur of every phrase the same. ..

Well, Zimmer's strength has never been thematic development, that's way to symphonic for his background and his taste, sometimes he came up with good and fitting themes and thematic conceptions, but here this is just empty talking, his so called theme works best as a catchy theme in the trailer, which is not the architecture he intented but had to be edited a bit. The longer theme is not really catchy. And actually there is no development or thematic treatment of it really. There is a not missing sometimes, there is just the head of the theme, but that's a very narrowed idea of dealing with thematic material. Which again, is not his strength and never has been and probably never will be.

And that theme appearing in the second half of Flight which is associated with his kryptonian heritage supposedly, this deserves a price for the most uninspired and dull theme composed by a major film composer.... Every bar in the same rhythm, ever countur of every phrase the same. ..

Well, Zimmer's strength has never been thematic development, that's way to symphonic for his background and his taste, sometimes he came up with good and fitting themes and thematic conceptions, but here this is just empty talking, his so called theme works best as a catchy theme in the trailer, which is not the architecture he intented but had to be edited a bit. The longer theme is not really catchy. And actually there is no development or thematic treatment of it really. There is a not missing sometimes, there is just the head of the theme, but that's a very narrowed idea of dealing with thematic material. Which again, is not his strength and never has been and probably never will be.

And that theme appearing in the second half of Flight which is associated with his kryptonian heritage supposedly, this deserves a price for the most uninspired and dull theme composed by a major film composer.... Every bar in the same rhythm, ever countur of every phrase the same. ..

Q: The John Williams theme was like a grand riff on the Superman TV show theme — “da-ta-daaaaaa”…

Actually the John Williams theme was like saying "Su-per-man" with trumpets.

Williams' theme was (IMHO, seemingly) influenced by, and managed to combine/distill a number of prior "Superman"-like musical influences, including:

The Jimmy McHugh/Frank Skinner Universal logo fanfare

Sammy Timberg's theme from the Superman radio show & Fleischer Superman cartoons (which also says "Su-per-man" in its tune)

Mischa Bakaleinikoff's theme from the Kirk Alyn serials (which also says "Su-per-man" in its tune)

The Main Title of Korngold's "King's Row."

The brilliance of what Williams has accomplished with these influences, is his new melody's seemingly perfect "inevitability" (perhaps because of the multiple inspirations for it) combined with his uncanny ability to filter these influences through his own style. It never sounds like a direct rip-off of anything, IMHO. To me, it just sounds exactly like "Williams, 1978."

I paid $15.25 for my ticket to this movie. I definitely recommend that folks wait for a matinee priced show.

I was underwhelmed too. Surprisingly choppy storytelling. Dialogue that was way to standard. I thought that Nolan would've produced a better storytelling film. Dark Knight Rises was so much more cohesive. (imho)

With people [particualry film music fans] getting immediately into the frenzy of the score dont realise that watching the film is as essential to understand how effective the score is and how well it works with the film. Infact we have all forgotten how we all fell in love with film music in the first place. It was the movie/film and how it had impacted us in the first place. Then we noticed the score and began to appreciate it with each viewings and ofcourse the first thing we bought is the soundtrack album. Nowaday folks will just pick up and album and gauge its merits on basis of a first listen and even assess the quality via 30 seond clips online without referencing the film or even watching it. Thats reckless. Granted that the film score may be a hit or a miss but give the film a chance first.

The subject of MAN OF STEEL is at best has been as fast as travel in hyperspace. The hype has complimented the franchise movie making machinery and fueled it. Fans of the Superman mythos will be forever haunted by the magnificense of Willams iconic music. [ Its the single most recognised film music theme in my country- just humm the fanfare and you will find even the hairy taliban like guy break into an excited smile-LOL]

The point is as much as Iam the fan of the legendary iconic Donner saga and the music-Iam still willing to allow the rebirth of SUPERMAN without some nostalgic reference to the previous entries. Its time to let go and absorb and breath the new SUPERMAN of today. Iam looking forward to a new revisonist SUPERMAN score that examins the films in today's well articulated modern sound stream. With that Im quite eager to accept and understand Zimmer's version and vision of SUPERMAN: MAN OF STEEL. But first I need to see the film and be swept away by it.

Hi Amer,

I think we share the same sentiments. Have a look at my review at Zinfo 2.0.

I was listening to The Dark Knight Rises the other day and realised I didn't like it until I watched the movie.